The Sculptor sm-1

by Gregory Funaro

  “He had already killed then, Sam,” Cathy said suddenly. “When he sent me the sonnet—The Michelangelo Killer had already murdered Gabe Banford months earlier.”

  “Yes, Cathy. So maybe the quotes and the sonnets were more than just an attempt to make contact with you. Maybe The Michelangelo Killer was not only telling you he understood, but also was trying to say ‘thank you’ in a way for showing him why he wanted to murder Banford, for showing him his true purpose—a purpose that he simply stumbled upon in what he must have seen as a stroke of divine providence.”

  Cathy felt a shiver run across her back, but what Sam Markham said next terrified her more than her thoughts of the faceless Michelangelo Killer.

  “I was wrong about this guy, Cathy. I was wrong about the timeline, about when the goat was killed in relation to the murder of Michael Wenick, and thus about the killer’s progression from animals to humans. It’s something that I should have seen from the beginning, simply because it would have made more practical sense for the killer—and forgive me for putting it this way—to get the top half of his satyr first, and then fit the bottom half, the goat legs, onto it. What I’m saying is, The Michelangelo Killer was already confident enough in his technique of ‘sculpting’ the bodies of his victims before he abducted Wenick and Campbell—bodies that he intended to put on public display. That I didn’t see the obvious practicality of acquiring Wenick first was an amateur mistake on my part, clouded by the fact that this Michelangelo Killer’s modus operandi is unlike any we’ve ever seen. It’s why I need you on this case with me, Cathy, why I need your insight into the mind of Michelangelo to help me get into the mind of this killer.”

  “I’ll do what I can to help you, Sam,” said Cathy—the words falling from her lips before she had time to think.

  “Thank you,” said Markham. There was a long silence—the low hum of the Trailblazer’s tires the only sound.

  “You mentioned something a moment ago,” Cathy said finally. “You said the killer was already confident in his technique of sculpting. Are you saying, Sam, that you think The Michelangelo Killer might have even more victims? That he might have killed others in the five-and-a-half-year gap between Gabriel Banford and Michael Wenick—others that he used simply to experiment and develop his technique? Like an artist?”

  “I hope I’m wrong, Cathy, but I can’t get the pictures from your book out of my mind—the pictures of Michelangelo’s early sculptures; the reliefs and the smaller statues that he made before he broke onto the scene with his first life-size sculpture, his Bacchus. And even though serial killers usually have what’s called a ‘cooling off’ period, even though this Michelangelo Killer is a very calculated and patient man, five and a half years seems like a long time for him to merely jump from a murder like Banford’s to the type we see with Campbell and Wenick. Yes, it’s important that his victims looked like the figures in Michelangelo’s Bacchus, but if we take into account what happened to Banford—and, as I suspect, what also happened to Campbell—of equal, perhaps even more importance is the awakening of the figures themselves, not just the public’s interpretation of their deeper message. My only hope is that—since this guy is so patient, since he is so obsessed with detail that he was willing to risk murdering a public figure like Tommy Campbell for his Bacchus—he might not have wanted to risk being caught while experimenting on other victims.”

  “Then Gabriel Banford might have been an experiment, too.”

  “Either that, yes, or as I suspect, part of a larger plan yet unformed. We might never know if Banford was The Michelangelo Killer’s first murder, but from what Rachel Sullivan’s investigation into the criminal databases has told us thus far, it most likely was the first in which he used epinephrine—no records going back over the last ten years list a suspicious death due to an overdose of epinephrine.”

  “But if The Michelangelo Killer did indeed develop his technique like an artist,” Cathy said, “if he has experimented with the use of adrenaline and the preservation of other bodies over the last few years in secret, there could be no way of telling how many people he killed before Campbell and Wenick, before the creation of his Bacchus.”

  “That’s what I’m afraid of, Cathy. That’s exactly what I’m afraid of.”

  Chapter 18

  The FBI Field Office. Boston. Ten minutes past ten.

  Bill Burrell sat at the conference table scowling into his coffee. He needed a smoke—needed it bad—but did not want to step outside and risk missing the linkup with Quantico. Markham and the art history professor were running a little late—an accident on the inbound artery, Sullivan had told him. A little luck, Burrell thought, as the Boston office was having an embarrassing bit of interference with their video feed that day—something about sunspots, his tech guy had said, or a faulty coaxial cable. Either way, Burrell was not in the mood to be understanding. No, the briefing from Rachel Sullivan that morning—the news about Gabriel Banford, about the adrenaline link—did not sit well with him. And the SAC knew instinctively that the upcoming teleconference with Quantico would be no better, for whereas Sam Markham was still holding out hope that the FBI had only three victims on their hands, Bulldog Burrell had a bad feeling that this son of a bitch Michelangelo Killer had more than just the blood of Banford, Wenick, and Campbell on his.

  “Sorry, Bill,” said Markham, entering. “Had to stop by in-processing to get the paperwork started for Dr. Hildebrant. Cathy, you remember Special Agent in Charge Bill Burrell?”

  There were others seated around the large conference table, but only Burrell and Rachel Sullivan rose to greet her.

  “Yes, of course,” Cathy said. “A pleasure to see you again. And you, too, Special Agent Sullivan.”

  “Call me Rachel.”

  “And you can call me Bill,” said Burrell. “Please, be seated.”

  An FBI agent to whom Cathy was introduced—and whose name she immediately forgot—vacated his seat for her at the far end of the table, and Cathy and Markham took their places across from Burrell and Sullivan—a large video screen on the wall before them. Cathy suddenly noticed another man on all fours—his rear poking out of a closet that seamlessly blended in with the rest of the walnut paneled walls.

  “You’ll have to forgive us,” began Burrell, “but we’re having a bit of technical difficulties this morning. Can I get you something to drink? Coffee or something?”

  “No thank you. Sam—I mean, Special Agent Markham already offered.”

  “Then he already briefed you on what to expect today?”

  “Yes, he did.”

  “Good,” said Burrell. “First off then, on behalf of the Federal Bureau of Investigation I would like to officially welcome you on board. I want to also thank you personally for all your help thus far, and for agreeing to work with us as we move forward on this case. You’ve been an invaluable asset to us in developing the profile for this killer, Cathy. I assume that, on your ride up from Providence, Sam here brought you up to date on where things stand at this point? Told you about the development regarding your former student Gabriel Banford, and the possibility of his being linked to this psychopath the press is calling The Michelangelo Killer?”

  “Yes.”

  “Rachel here is overseeing that end of things. She will be working on the Banford case file with the hopes of finding a more concrete link between him and the killer—mutual acquaintances, Internet records from the postings on Craigslist, that kind of thing. Her team will also be looking into all the unsolved missing person cases in Rhode Island and its immediate vicinity dating from the Banford murder to the present—cases involving other young men who this Michelangelo Killer might have abducted and experimented with before he got to Wenick and Campbell.”

  “You see, Cathy,” said Markham, “serial killers tend to consciously select their victims from one particular demographic—victims who meet certain criteria that, for whatever reason, gratify the serial killer’s deeper psychological motivations to murder—mo
tivations of which the killer might be either unconscious or sometimes fully aware.”

  “That’s right,” said Burrell. “And given the profile that you and Markham have developed for this Michelangelo Killer so far, the murder of young males most likely is this guy’s MO. Therefore, Sullivan and her team will be specifically looking into the disappearance of young male prostitutes and drifters who were known to reside in Rhode Island and the surrounding area over the last six years. Not only does this fit the profile of Gabriel Banford, who we know had begun stealing and prostituting himself to help support his drug habit, but also these types of victims tend to be safer targets for serial killers in that, because so many of them move around from one place to another, their disappearances usually go unreported—and thus, in this case, would draw little attention to The Michelangelo Killer while he developed his craft.”

  “Yes,” said Sullivan. “As Agent Markham probably informed you, we’re going to begin working from the premise that, after the Banford murder, The Michelangelo Killer would have wanted to develop his technique for preserving and painting his figures before the public unveiling of his Bacchus nearly six years later. However, we have another team working from the angle that the killer might have already been familiar with embalming, and thus they’ll be investigating funeral parlors, morticians, taxidermists, and others who not only would have that kind of working knowledge, but who would also have access to the types of chemicals needed to preserve a corpse. It’s those preliminary findings from the FBI labs at Quantico on which we’ll be briefed today. Once we have an idea of exactly how the killer went about preserving Campbell and Wenick, we’ll have much more to go on.”

  “All set, Chief,” said the man whose behind had been sticking out of the wall. Cathy recognized him from Watch Hill—the “tech guy” who had set her up with the laptop that day.

  Burrell nodded and the large video screen on the wall flickered to life—two men seated at a table, one in a suit, one in a white lab coat.

  “We got a visual on you now, gentlemen,” said Burrell. “How about you?”

  “Yes, Bill,” said the man in the suit. “We can see you fine.”

  “Good. You know everybody else here, Alan, but I want to introduce you to Dr. Catherine Hildebrant. She’s agreed to come on board as a consultant in the case and will be assisting Sam down in Providence. Cathy, this is Alan Gates, chief of Behavioral Analysis Unit-2 at Quantico. Next to him is Dr. Gilbert Morris. He heads up the Chemistry Unit in Scientific Analysis back at the FBI Laboratory.”

  The two men nodded their hellos.

  “What have we got, gentlemen?”

  “I talked to Special Agent Markham earlier this morning, Bill,” said Unit Chief Alan Gates, the man in the suit. “He’s updated me on the latest developments, so I’ll defer to him for the rest of this conference. Sam is officially in charge now from our end, and has expressed his utmost confidence in your team there—specifically Agent Sullivan and her outstanding work as coordinator between your office and the NCAVC.”

  “Good,” said Burrell. “Dr. Morris?”

  “Thank you, Bill. I’ve been instructed to tell you that the scientists in the Trace Evidence Unit will be submitting their report on the wooden base and the tree stump to your offices later today.”

  “Fine.”

  “With regard to Scientific Analysis, one of my assistants is preparing a breakdown of the specifics from each subunit as we speak, but I’ll give you a general overview of what we’ve found thus far.” The man in the white lab coat shuffled a pile of papers. “First off, we’ve found nothing more in the chemical makeup of the epoxy compound that was used to sculpt the lion skin, the bowl, and the figures’ hair that would identify it as anything other than the TAP brand Magic-Sculpt commonly sold on the Internet or in the arts and crafts stores in your area.”

  “Good,” said Burrell. “I’ve already got people working on that angle.”

  “The Toxicology Unit, in conjunction with the state medical examiner in Rhode Island, has confirmed that the high concentrations of synthetic epinephrine found in Tommy Campbell’s tissue did indeed lead to his death. Five years ago, we might have missed this, Bill, as the chemicals the killer used in the preservation process altered the base cell structure significantly. However, we still might not be able to get a pure enough sample of the epinephrine to allow us to trace the drug to a specific source. The same goes for the high-powered diazepam and ketamine. We’ll keep you updated as that investigation progresses.”

  “Right.”

  “Here in our labs at Quantico, we’ve been able to determine that the killer preserved his victims building on a technique called Plastination—a process where water and lipid tissues are replaced by curable polymers.”

  “Plastination?” asked Burrell.

  “Yes. A process of anatomical preservation being used more and more around the world, but first developed in the late seventies by a German scientist named Dr. Gunther von Hagens. There have been a number of his Body Worlds exhibitions in the last decade or so, but a similar show from a Chinese company recently drew a lot of worldwide attention and criticism. I’ve included those details in my report, but the general character of both the German and Chinese exhibitions is the same—a group of skinless, sometimes partially dissected cadavers posed in lifelike positions and put on display for public viewing. Individual plasticized body parts are also sold to medical and veterinary schools all over the world, but are nonetheless quite expensive.”

  “So what do you think, Alan? Our man might have once been a med student? Might have even worked for one of those companies?”

  “Maybe,” said Unit Chief Gates. “But unfortunately, Bill, the information about the Plastination process is readily available on the Internet. Anyone with a basic knowledge of chemistry and the desire—as well as the time and means to fulfill that desire—could, with a little trial and error, figure out the process himself.”

  “That’s right,” said Dr. Morris. “It appears the killer preserved his victims by first removing their internal organs and then embalming them with a formaldehyde solution. Then the body was placed in a bath of acetone, which—under freezing conditions—would draw out the water and replace itself in the cells. Next would come the bath of the liquid polymer, in this case silicone rubber. By creating a vacuum, the acetone will boil and vaporize at a very low temperature, drawing the liquid polymer into the cells behind it. While the bodies were still supple, the killer then stuffed the cavities, stretched the bodies into the desired position on the metal frame—probably using wires to help him pose his figures—and left them to dry. Keep in mind, Bill, that the plastic must be cured, and most likely the killer hardened it using heat or ultraviolet light.”

  “Jesus Christ,” said Burrell.

  “Yes,” said Gates. “Our boy has quite an operation going. He has a large space—a studio, if you will—in which to work. Must also have quite a lot of money socked away. I suppose some of the equipment such as the ultraviolet lamps and the vacuum sealed tub needed for the acetone and polymer baths could be jury-rigged, but the amount of time for experimentation, as well as the time it would take to preserve each body, even under ideal conditions, is staggering—estimated anywhere from eight to twelve hundred man hours.”

  “So we’re looking at a guy who has a lot of time on his hands? A guy who is perhaps independently wealthy?”

  “Probably,” said Gates. “If you take into account the timeline between Campbell’s disappearance and the appearance of the bodies down at Watch Hill, you’re looking at a total of just over three months. Even with all that time off, needless to say, our boy hasn’t been getting much sleep lately.”

  The room was silent.

  “Sales or thefts of large quantities of acetone,” said Gates, “as well as the silicone rubber needed for the Plastination process will be a good place for our teams here to begin. We’ll take care of tracking things down on that end.”

  Burrell nodded. />
  “Next,” Dr. Morris began again, “the Paints and Polymers subunit found a match in our database for the chemical compound of the paint used on the figures of Campbell and Wenick—a mixture of Starfire brand acrylic enamel auto paints, including a primer and a clear coat. Like the epoxy, this brand of automotive paint can be found at many dealers throughout the country and on the Internet. The paint was clearly applied to the bodies in many layers, and by using some type of sprayer. However, mixed into the paint was a white powder that the General Chemistry subunit identified as ground marble.”

  “Marble?” asked Burrell. “You mean like the kind of marble used in statues?”

  “Yes, that’s exactly what I mean, Bill. Nonfoliated, calcite-based metamorphic rock with the molecular makeup, color, and density identical to what our databases identified as unique to and originating from a specific quarry in Italy.”

  “Carrara,” said Cathy absently, impulsively.

  “That’s right, Dr. Hildebrant,” said Gilbert Morris. “The ground marble found in the paint was undoubtedly quarried from Carrara, Italy.”

  “How did you know it was Carrara, Cathy?” asked Burrell.

  “Well,” she began, “Carrara is a small town in Italy about sixty miles north of Florence. The marble quarried there has been a favorite of sculptors dating back to Ancient Rome, and many of the city’s greatest monuments were carved from it—as were countless sculptures during the Renaissance. Even more so than his own quarries in Pietrasanta, Michelangelo prized Carrara marble above all other types of stone because of its beauty and consistency. Indeed, it was from blocks of Carrara marble that Michelangelo carved his most famous masterpieces.”

  “And they’re still quarrying marble there today?” asked Rachel Sullivan.

  “Yes. As far as I know, Carrara marble is still regarded as the finest, and statues carved from it are exported all over the world. However, the marble itself is very expensive.”